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BY CAMILA RYDER

In print | Published January 26, 2012

Film portrayals of addiction aim to evoke an unsettlement in the viewer with their disturbingly realistic depictions of drug or alcohol abuse — just think of “Requiem for a Dream” or “Trainspotting.” You’re thrown into these crazed whirlwinds of the addict’s minds, repulsed by the excess — not only of the drugs but also the films’ atmospheres themselves. British artist and filmmaker Steve McQueen’s drama “Shame,” which delves into the depths of sex addiction, aims to generate that same repulsion at something we all to often glaze over when watching films — the sex.

“Shame” has no qualms about sex, nudity or full-frontal nudity (it received an NC-17 rating), but it is not meant to make you want sex. Unlike the drugs or alcohol, there is something quite unnerving about sex addiction. It is something that is so instinctual within every human that it seems almost wrong or perverse to have an addiction to sex. There’s an incredible stigma attached to it, partly because of an embarrassment associated with sex: it is so personal and comes from within, whereas drugs or alcohol are more like outside triggers. Depictions or ideas of sex range from passionate to intimate, but McQueen tries to show the excess of sex this is supposed to disturb the viewer in a way that emphasizes the fragility of the addiction.

“Shame” delves into the depths of sex addiction through Brandon, a seemingly controlled Manhattanite with a destructive obsession with sex. The excess to which Brandon, played by Michael Fassbender, craves sex is apparent in the film’s first scene. Brandon is sitting on the New York metro and a young woman across fro him catches his eye. As he gazes up and down her body, the film flashes back and forth between Brandon’s various trysts to the woman’s legs as the metro’s whir mixes with orgasmic noises. It’s an incredible opening scene, as we’re placed in Brandon’s mind immediately, hearing and seeing all that he thinks about, which is sex.

He is at once this seemingly composed and regular man — he goes to work, he goes on a run, he flirts with women and hangs out with friends. But the whole time, his mind is preoccupied with sex. It is all he thinks about and what the audience must think about as well throughout the film.
Instead of simply going home after work, relaxing and watching TV, Brandon eats Chinese takeout and watches porn, has sex video chats with women online and is constantly looking for sex with a prostitute or just a random man or woman. You’re almost repulsed at the end of the film when he goes on a self-destructive binge. Instead of being completely disconnected because of drinking to excess, he perpetually seeks sex, no matter with whom. Even his work computer is chock full of porn.

McQueen contrasts Brandon’s need for sexual excess with the grey and white starkness of Brandon’s apartment. Even his wardrobe is essential blacks and greys. The New York backdrop drifts away from the typical image of a bustling city, as McQueen plays upon the quiet gloominess that can overtake New York in a rainstorm.

Carey Mulligan plays Sissy, Brandon’s wayward and emotionally unstable sister, who comes and stays at his apartment, disrupting his stoic and routine daily life. There are definite hints that they share a pretty troubled past, but nothing is ever stated.

Mulligan is absolutely brilliant — incredibly needy, selfish and broken. One of the most beautiful scenes of the movie features Sissy singing a heartbreaking rendition of “New York, New York.” The camera just watches intently as the sadness plays out on her face and in her eyes as she sings about the dream that is New York and the desire to leave behind one’s “little town blues.” For the first minute or so of the song, we’re focused on Sissy’s face, but then the camera flashes over to a crying Brandon as Sissy sings the final notes.

Though “Shame” is mainly focused on Brandon’s addiction, it also offers an intensely personal and real portrayal of strained sibling relationships. It captures the fragility of both characters, suffering from addiction and depression, and how being in each other’s lives once again breaks down whatever distance or barrier Brandon placed around his life.

Neither Fassbender nor Mulligan garnered a nomination for the Academy Awards, though Fassbender was nominated at the Golden Globes. Though it is not Best Picture quality, it is a well-crafted and strong second release from McQueen. What takes the cake, though, are Fassbender’s and Mulligan’s performances. They’re incredibly nuanced actors and “Shame” allows them to really delve into their versatility as performers. It’s still incredibly surprising that Fassbender did not receive a nomination from the Academy … but maybe they’re just a little scared to talk about sex.

“Shame” is rated NC-17 and is playing at the Ritz at Bourse in Philadelphia.

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